Infinite possibilities: Peter Blake sees AI’s magic in art

Seasoned pop artist enthused by the medium following its use in a ‘performance art installation’ in Hong Kong

While concerns about AI’s impact on creativity and copyright trouble many artists, 91-year-old pop artist Sir Peter Blake finds inspiration in the technology. Collaborating with an AI-powered robot, he explores a “kind of magic” in creating a new portrait series. The innovative project involves directing the robot, equipped with advanced AI and using traditional Chinese craftsmanship, to transform photographic portraits into painted ones within minutes. Blake, amazed, witnessed a robot arm wielding a calligraphic brush recreate his likeness on canvas in just three minutes.

Speaking to the Guardian, he expressed, “Sitting beside and witnessing the process was fascinating. The resemblance is good. The possibilities of what it can achieve are exciting and seemingly endless.

He acknowledged that AI remains a mystery for many, but personally, he is captivated by it. He stated, “While I may not fully comprehend it at the moment, every test we conducted with it yielded success. I believe it opens a new door to endless explorations; anything is conceivable.

In the previous month, Blake incorporated AI into a “performance art installation” at the Mandarin Oriental, Hong Kong. During the event, 300 guests, including the Oscar-winning actor Michelle Yeoh, were unknowingly part of a groundbreaking experience – a real-time creation of a Blake collage.

As guests arrived and were photographed, Blake orchestrated the composition and layering of their portraits on a massive canvas measuring 5 meters by 3.4 meters. The event, commissioned by Michael Moszynski of London Advertising, showcased the unique blend of AI and artistic vision.

Blake expressed his excitement, stating, “What fascinates me is the idea that hotel guests arrive, get photographed, and then, through a process, find themselves being drawn into a collage. It’s a kind of magic, isn’t it? A magical situation… witnessing this line emerge. Suddenly, a likeness of yourself appears. It’s fantastic to observe the robot creating marks, ranging from a tiny thin line to a quite substantial one.

Blake stands as a prominent figure in British pop art, recognized for his groundbreaking work. Among his iconic creations are collages, ranging from early paintings capturing fragments of popular ephemera to his inventive found-object assemblages.

Among his notable works is the album cover for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, featuring the Fab Four alongside cardboard cut-outs of renowned individuals.

His interest in AI coincides with the technology facilitating the release of the “final” Beatles single, Now and Then, a fusion of John Lennon’s abandoned demo with new vocals from Paul McCartney.

However, concerns about AI led leading nations to issue an international declaration addressing the technology’s risks. Delegates at the AI safety summit at Bletchley Park in Buckinghamshire, including billionaire tech entrepreneur Elon Musk, emphasized potential benefits while issuing stark warnings about “humanoid robots,” foreseeing a future where AI could replace all jobs.

Illustrators, along with other artists, have expressed concerns about AI potentially diminishing the value of their work. When asked about addressing those who fear AI, Blake advised, “Simply avoid it. There’s no obligation to incorporate it into your work.

In 2021, during an interview with the Observer, he mentioned his consistent engagement in drawing, expressing disappointment about his tenure as a professor of drawing at the Royal Academy Schools (2002-2004). He struggled to ignite a passion for drawing among his students, stating, “They don’t draw. I can’t reignite an interest.”

Despite both Blake and his friend David Hockney being early adopters of technology, they never overlooked the foundational inspiration they gained from drawing classes at the Royal College of Art in the 1950s.

Blake envisions AI as a complement to traditional drawing, seeing it as just another tool in an artist’s arsenal. He hopes it assumes its place alongside essentials like the pencil or the brush, without surpassing their importance.